The Experts below are selected from a list of 69279 Experts worldwide ranked by ideXlab platform
Eugene Sadler-smith - One of the best experts on this subject based on the ideXlab platform.
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The role of intuition and Improvisation in project management
International Journal of Project Management, 2006Co-Authors: Stephen Leybourne, Eugene Sadler-smithAbstract:Improvisation consists of a combination of intuition, creativity, and bricolage. Intuitions are rapid, affectively charged, holistic judgements arrived at without the apparent intrusion of rational thought. Improvisation and intuition represent two important and related aspects of management in general and of the management of projects in particular. There have been few, if any, studies that have examined the relationship between intuition and Improvisation in the context of the management of projects. In this research we used a model of the relationships between project managers' intuitive decision making behaviours, their use of Improvisation and project outcomes in order to examine whether or not intuition is used in the management of projects, how it relates to Improvisation and how intuition and Improvisation are linked (if at all) to project outcomes. The research employed a cross-sectional survey design (N = 163) administered in two waves. Mediated multiple regression analyses revealed a number of statistically significant effects (p < 0.05), namely: (1) there is a positive relationship between the use of intuitive judgements and Improvisation; (2) there is a positive relationship between experience and Improvisation; (3) there is a positive relationship between the use of intuitive judgements and experience; and (4) the use of intuitive judgements is related to externally focused project outcomes. These findings are discussed in terms of their implications for the following: role of intuitive judgements and Improvisation in the management of projects; the ways in which both intuition and Improvisation are conceptualised; and the training and development of project managers. © 2006 Elsevier Ltd and IPMA.
J. Dean - One of the best experts on this subject based on the ideXlab platform.
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Pat Metheny's finger routes: the role of muscle memory in guitar Improvisations - research seminar at Surrey University
2016Co-Authors: J. DeanAbstract:Based on transcriptions taken from footage of Pat Metheny's live performances, this seminar examines a selection of Metheny's guitar solos in order to investigate the relationship that exists between Improvisation and instrumental technique, with a particular focus on left-hand technique (the fretting hand). Primarily the analysis aims to go beyond simply presenting licks, and to begin to demonstrate the way in which Metheny navigates his instrument when improvising, and to show how the mechanical movements impact on the musical ideas and the construction of the Improvisations themselves.
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Here and now
2015Co-Authors: J. DeanAbstract:'Here and Now' is an album of nine original jazz based compositions (64 mins total). 'Here and Now' was released on Pathway Records and was recommended by itunes as 'Music you must hear' in the jazz section (October - December 2016). Further research from the recorded output involves developing an analysis of the use of muscle memory in guitar Improvisation, taken from transcriptions of the Improvisations in both studio and live settings The album features James Dean (guitars), Paul Booth (saxophones), Steve Hamilton (pianos), Dave Whitford (bass) and Andrew Bain (drums). Vocalist Simon Foster is also featured on one track. 'Here and Now' is available for streaming here: http://jamesdeanguitar.com/index.php/music/ Videos from 'Here and Now Live' can be viewed here: http://jamesdeanguitar.com/index.php/video/ Some background to the project can be found here: https://www.youtube.com/watch?v=TqT5zHm6vMg&t=12s
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Pat Metheny's Finger Routes: The Role of Muscle Memory in Guitar Improvisation
Jazz Perspectives, 2014Co-Authors: J. DeanAbstract:Based on transcriptions taken from footage of Pat Metheny's live performances, this analysis examines a selection of Metheny's guitar solos in order to investigate the relationship that exists between Improvisation and instrumental technique, with a particular focus on left-hand (the fretting hand) muscle memory. Through the examination of four solos it is hoped that stylistic features of Metheny's playing will be discovered in terms of demonstrating some of his unique vocabulary, but primarily the analysis aims to go beyond simply presenting licks, and to begin to demonstrate the way in which Metheny navigates his instrument whilst improvising, and to show how the mechanical movements impact on the musical ideas and the construction of the Improvisations themselves.
Genevieve A Dingle - One of the best experts on this subject based on the ideXlab platform.
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microanalysis in music therapy methods techniques and applications for clinicians researchers educators and students
Drug and Alcohol Review, 2008Co-Authors: Genevieve A DingleAbstract:Foreword by Barbara L. Wheeler. 1. Microanalysis in Music Therapy: Introduction and Theoretical Basis. Thomas Wosch, University of Applied Sciences, Wuerzburg and Schweinfurt, Germany and Tony Wigram, Aalborg University, Demark. Part One: Video Microanalyses. 2. An Ethnographic Descriptive Approach to Video Microanalysis. Ulla Holck, Aalborg University, Denmark.3. Microanalysis of Preverbal Communication in Music Therapy. Christine Plahl, University of Applied Sciences, Munich, Germany. 4. Microanalysis on Selected Video Clips with Focus on Communicative Response in Music Therapy. Hanne Mette Ridder, Aalborg University, Denmark. 5. Microanalysis of Interaction in Music Therapy (MIMT) with Children with Developmental Disorders. Julia Scholtz, Universitatsklinik, Dresden, Germany, Melanie Voigt, Kinderzentrum Munchen, Germany and ThomasWosch. 6. The "AQR-instrument" (Assessment of the Quality of Relationship) - An Observation Instrument to Assess the Quality of a Relationship. Karin Schumacher, University of Arts, Berlin, Germany and Claudine Calvet, University of Arts, Berlin, Germany. 7. The Use of Improvisation Assessment Profiles (IAPs) and RepGrid in Microanalysis of Clinical Music Improvisation. Brian Abrams, ImmaculataUniversity, US. Part Two: Music Microanalyses. 8. Using Voice Analysis Software to Analyse the Sung and Spoken Voice. Felicity Baker, University of Queensland, Australia. 9. Analysis of Notated Music Examples Selected from Improvisations of Psychotic Patients. Jos De Backer, College of Art and Science, Leuven, Belgium and TonyWigram. 10. Music Therapy Toolbox (MTTB) - An Improvisation Analysis Tool for Clinicians and Researchers. Jaakko Erkkila, University of Jyvaskyla, Finland. 11. A Structural Model of Music Analysis. Denise Grocke, University of Melbourne, Australia. 12. Microanalysis of Emotional Experience and Interaction in Single Sequences of Active Improvisatory Music Therapy. Ute A.A. Inselmann, University of Wuzburg, Germany. 13. The Music Interaction Rating Scale (Schizophrenia) (MIR(S)) Microanalysis of Co-Improvisation in Music Therapy with Adults Suffering from Chronic Schizophrenia. Mercedes Pavlicevic, Nordoff-Robbins Music Therapy Centre, UK. 14. The Use of Micro-musical Analysis and Conversation Analysis of Improvisation: 'The Invisible Handshake' - Free Musical Improvisation as Conversation. Julie Sutton, Centre for Psychotherapy, Belfast, Northern Ireland. 15. A Phenomenologically Inspired Approach to Microanalyses of Improvisation in Music Therapy. Gro Trondalen, Norwegian Academy of Music, Oslo, Norway. 16. Event-based Analysis of Improvisations Using the Improvisation Assessment Profiles (IAPs). TonyWigram. 17. Measurement of Emotional Transitions in Clinical Improvisations with EQ 26.5. ThomasWosch. 18. Microanalysis of Processes of Interactions in Clinical Improvisation with IAP-Autonomy. ThomasWosch. 19. Steps in Researching the Music in Therapy. Lars Ole Bonde, Aalborg University, Denmark. Part Three: Text Microanalyses. 20. Understanding Music Therapy Experiences Through Interviewing: A Phenomenological Microanalysis. Katrina McFerran, University of Melbourne, Australia and Denise Grocke. 21. Text Analysis Method for Micro Processes (TAMP) of Single Music Therapy Sessions. Kerstin Ortlieb, University of Applied Science, Magdeburg and Stendal, Germany, Maria Sembdner,Otto-von-Guericke University, Magdeburg, Germany, ThomasWosch and Jorg Frommer, Otto-von-Guericke University, Magdeburg, Germany. 22. Microanalysis in Music Therapy: A Comparison of Different Models and Methods and their Application in Clinical Practice, Research and Teaching Music Therapy. TonyWigram and ThomasWosch. List of Contributors. Subject Index. Author Index.
Stephen Leybourne - One of the best experts on this subject based on the ideXlab platform.
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The role of intuition and Improvisation in project management
International Journal of Project Management, 2006Co-Authors: Stephen Leybourne, Eugene Sadler-smithAbstract:Improvisation consists of a combination of intuition, creativity, and bricolage. Intuitions are rapid, affectively charged, holistic judgements arrived at without the apparent intrusion of rational thought. Improvisation and intuition represent two important and related aspects of management in general and of the management of projects in particular. There have been few, if any, studies that have examined the relationship between intuition and Improvisation in the context of the management of projects. In this research we used a model of the relationships between project managers' intuitive decision making behaviours, their use of Improvisation and project outcomes in order to examine whether or not intuition is used in the management of projects, how it relates to Improvisation and how intuition and Improvisation are linked (if at all) to project outcomes. The research employed a cross-sectional survey design (N = 163) administered in two waves. Mediated multiple regression analyses revealed a number of statistically significant effects (p < 0.05), namely: (1) there is a positive relationship between the use of intuitive judgements and Improvisation; (2) there is a positive relationship between experience and Improvisation; (3) there is a positive relationship between the use of intuitive judgements and experience; and (4) the use of intuitive judgements is related to externally focused project outcomes. These findings are discussed in terms of their implications for the following: role of intuitive judgements and Improvisation in the management of projects; the ways in which both intuition and Improvisation are conceptualised; and the training and development of project managers. © 2006 Elsevier Ltd and IPMA.
William Tarvainen - One of the best experts on this subject based on the ideXlab platform.
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organizational Improvisation a consolidating review and framework
International Journal of Management Reviews, 2015Co-Authors: Allegre L Hadida, William TarvainenAbstract:Organizational Improvisation is increasingly recognized as a relevant area of management research. However, the cumulativeness of research on Improvisation in organizations remains low. This paper organizes existing contributions on organizational Improvisation within a new consolidating framework combining degrees (minor, bounded and structural) and levels (individual, interpersonal and organizational) of Improvisation. The proposed degree/level framework allows for reviewing the existing literature on organizational Improvisation in the management disciplines of strategy, organizational behaviour, organizational theory, innovation and marketing in a systematic manner. It also exposes potential areas for future research across management disciplines, research areas, organizational settings and industries, and beyond existing metaphors, most notably of jazz and Improvisational theatre.
